Slide Show - Images (mostly) from The Illustrated History of Painting

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Saturday, September 27, 2014

Luke Willis Thompson & the Walters

An
apparent lack of Peak-Experience, in day to day existence, may conceivably
render creatures of the lecture hall, the conference room, the office suite,
the clean white empty space, susceptible and breathless when rubbed up against
a chauffeured art world scavenger hunt. Scavenging for capital L life. I am reminded of
Andy Kaufman's anticipatory work ... wherein he took an entire audience, from
his Carnegie Hall performance - in 24 prearranged buses - out for milk and
cookies. So called anti object works are defined more by what they are not than what they
are. Their dematerialized status relying, in large part, on having
putatively dematerialized something substantial - that substantial
'thing', more often than not, being the collusive institution itself.
Esches fervid claim that Thompson's work cuts "through the protocols of
the exhibition system like a knife" is more telling than he may have
imagined. Without The Institution and its protocols, to cut through,
where, really, would Thompson's piece have literally stood....before
launching itself, from the Auckland Art Gallery's loading
dock, into some theoretical void.

Blog readers may now recommence beavering toward the reversal or
overthrow of the existing tendency, or state, of the art world.

Lately

Expat American living and working in New Zealand.
I have a long-established painting practice and
occasionally write criticism for Art in America, Sculpture, Art New Zealand and ARTNET - among others.
Where I come from the only people who read visual art criticism and review are the artist ,his dealer and the artist's mother.